Various - Airwaves (1977)

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performances compiled by Bob George
double Lp

A-side
Vito Acconci - Ten Packed Minutes [1977], musical excerpts from the recordings by Leon Redbone, Cow Cow Davenport, Eric Dolphy, Ornette Coleman and Karl Berger
Jana Haimsohn - Hav'a Lava Flow [1977]
Terry Fox - The Labyrinth Scored For The Purrs Of 11 Different Cats [1976], cutting

B-side
Julia Heyward - Mongolian Face Slap Big Coup (Part One) Nose Flute (Part Two) [1977]
Dennis Oppenheim - Broken Record Blues [1976]
Meredith Monk - Rally, for 25 voices [1975-76]
Meredith Monk - Procession, voice and piano from the opera "Quarry" [1975-76]

C side
Diego Cortez – Arbiter [1975]
Diego Cortez - You Pay [1975] (Sound track for the film "Poisoning", 1975)
Jim Burton - High Country Helium [1976] (with John Deak - viola, percussion, Ed Friedman - Bottle Neck Guitar, Jim Burton - Peddle Steel)
Leandro Katz - Animal Hours [1977] (Votes: Judith Hindra, Ellen Friedenberg, Ted Castle, Leandro Katz)
Connie Beckley - Triad Triangle [1977]

D side
Laurie Anderson - Two Songs For Tape Bow Violin*: Ethics Is The Esthetics Of The Few-Ture (Lenin), Song For Juanita [1977]
Laurie Anderson - Is Anybody Home [1976] (for ship's siren, camera, stairs, piano and vocals, with Peter Gordon - clarinet; Joe Kos - drums, Scott Johnson - Bass; Laurie Anderson - vocals and violin)
Laurie Anderson - It's Not The Bullett That Kills You - It's The Hole (For Chris Burden) [1976] (with Scott Johnson - guitar, bass, Joe Kos - drums, Ken Deilik - harmonica; Laurie Anderson - violin and vocals, Scott Johnson, Laurie Anderson and Ken Deifik - Arrangement)
Diego Cortez - Cataract Monologue [1976] (excerpts of a speech on “April meeting”, Belgrade, 1976)
Jacki Apple - Black Holes / Blue Sky Dreams
Richard Nonas - What Do You Know [1976-77]


(*) Laurie Anderson, Two Songs for Tape Bow Violin (single) Holly Solomon Gallery, New York, 1977. Produced by Bob George, was part of Laurie Anderson one-woman show at the Holly Solomon Gallery in New York, and was displayed in a juke-box. The show contained work which was considered part of the at the time very much acknowledged “narrative art”. Laurie Anderson carried this movement, which mainly used a combination of fotografy and text into the new context of analogue and electronic audiovisual media and their application in performance art.
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